Title of show

"Licht, Luft, Scheiße - Archäologien der Nachhaltigkeit"

ZE Botanischer Garten & Botanisches Museum

Title of our installation

“It’s already happened”

New Territories _S/he with Mika Tamori

& Štěpán Krahulec, Max Unterfrauner, Helvijs Savickis

Botanic Museum room 7

Where

ZE Botanischer Garten & Botanisches Museum

BerlinFreie Universität

BerlinKönigin-Luise-Str. 6-814195 Berlin

Germany

When

from 15 August 2019, opening to 27 October 2019 at the Bo-tanical Museum Berlin.

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Facing the lure of romantic ecology, which was the best companion of the

twentieth century’s most barbaric regimes. Lenin and Goering were highly

concerned with animal rights and nature… as expressed by a multitude of

laws.

Facing the hoax of industrial ecology, where greenwashing (from the Tesla

battery to any photovoltaic device / Cobalt and silicon are not harvested;

they are produced through the fossil energy chain) appears as the ultimate

performative and cynical discourse for post-capitalism to sell illusive

moralism and “save Willy” gadgets (what beautiful incestuous lovers).

Facing a political and intellectual high drama in which skeptical

environmentalist lobbyists, obscene liars, opportunistic evangelists and

many others… spread their influence through the complicity of

newspapers, journalists and other media in the hands of the billionaires.

Facing the scientists of the IPCC (Intergovernmental Panel on Climate

Change) who were misjudged or ridiculed as Cassandras 20 years ago,

with the aim of metabolizing or ignore their warnings… to the situation

here and know where they appear to be logically tumbling into

catastrophism… into a “too late – run for your life” resignation / Any

deep, extreme, virtuous transformation (degrowth) of our consumerist

symptoms will de-impact the decay of Gaia for the kids of Greta Thunberg

for at least the next two generations! Tell the dinosaurs, before their

global extinction, that they need to sacrifice to save a hypothetical next

two generations…

Facing the revenge of nature (Katrina, El Niño, the cyclones Jeanne,

Tomas and Nargis, the Xynthia storm, the Ewiniar typhoon, the

Indonesian and Japanese earthquakes, collateral tsunamis all the way to

Fukushima…) in a mutiny against the organization of man-power, in a

faltering of the original chaos…

Facing the newspeak propaganda about deep learning and the post-

human, which fantasizes and entertains global lobotomization to hide and

mask the major program of alienation, domination and the concentration

of profit, resources, data, material and immaterial… underway since the

nineteenth century…

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Few people decided to renegotiate rituals, ceremonies, vitalism and the

mechanization of life and technologies / to reformulate an intricate

ethico-aesthetic paradigm in which philosophy, physiology, sexuality,

subjectivities and sciences are intertwined. This specific zeitgeist

definitively altered the rules of the means and meaning, the forbidden

and the “authorized.” Humans were assumed to be vulnerable, traversed

by emotion, illogic, passion, fear, jealousy, madness… trapped in their

mind by multitudinous procrastination. The defeat of the human (as

master of ceremony, deus ex machina), and the introvert suppression of

its missing act, are the first ecological articles of their weak constitution.

Don’t misunderstand this. They are not regressive or backward-looking,

trapped in a complacent Romanticism. They use emerging logic and

technologies as apparatuses of knowledge and, simultaneously, a process

of fabrication, assuming (un)certainties, (in)determinism, disruptive logic

and heuristic feedback as agents of attitudes and form, where lines of

subjectivities are triggering realities and strategies of escape, where

biology, technology, robotics and anthropology are in symbiosis… where

all the fictions consubstantial to the Industrial Revolution (which are still

the rules of effectiveness and performance in the post-capitalist age) are

destabilized, corrupted, dismembered…. all the fictions and forms of

violence that organized madness of our situation, the fictions and

violence of masculinity, power, progress, mystical science, individualism,

performance, libido… and democracy.

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The ‘’It’s already happened’’ spot will make visible… confused altered

states through 10-15 psycho case studies in a “Curiosity Cabinet”

environment installed at the Botanical Museum. This environment will

include prototypes, video, computer and robotic processes to create a

synesthesia between narration, technology, anthropology and artificial

organic matter. This “Curiosity Cabinet” will report by means of these

display-processes relating to bottom-up self-organization, heuristical and

disruptive logic, human misapprehension, and questioning [corrupting]

the idealizing hygienist propaganda and futuristic agenda of cutting-edge

technologies.

.

Drifting realism_F[r]ICTION

… psychotic bachelor machines, psychotic apparatuses and fragments…

bodies in verse, bodies-becoming… a plausible simultaneous encounter of

situations, stories and their symptoms. The “forbidden” is reintroduced as

a possible, and that which was rejected or considered an improper

ingredient is coming back, like Georges Bataille’s substances… in a

repulsive “curiouser and curiouser” affinity, in pursuit of Ulrich Beck’s

concept of risk society....

Each scenario is a condition of solitude in relation to a “symptomatic

symptom” structure where fragmentation is the very raison d’être of

his/her emotions: a monster-boy endomorph constantly overfed,

protected in a claustrophilic antidote-jacket from the love excess of his

incestuous mother (“beau)strosity”); a feral child, innocent, naïve and

obscene, in a deep jungle, observed by scientism and voyeurism (“The

Offspring”); the “difference and repetition” of an affective alienation that

has become caged food in pursuit of Gilles Deleuze (‘’Σdays’’); a post-

culture spasm… in a mud-dirt turd where substances (human psyche and

discharges) meet in their states of chemical transformation

(“concrete(i)land”), a real episode of a “Mister Thank You’’ life, a man

who died in the street two years ago. He was trapped in a stuttering

Tourette Syndrome borborygmus, forced to face the cruelty of BKK kids

(“emet”), but also (“what could happen?”) as a prologue to a story about

euthanasia in Switzerland where teenagers use winter to bring on

hypothermia, but also the last seminal spurts of a Thai ladyboy computed

through a robot for a “psycho-cartography’’ choreography that dismisses

the position of the artist with post-human substances and the delegation

of authorship (the artist Mika Tamori)… until (“e_Sc[h]atology’’) scientific

research develops a perpetual loop between what we digest, shit, recycle,

cook, swallow… assuming that some parts have a repulsiveness that must

be negotiated individually. In our Anthropocene period… here we can’t fail

to mention the (“mind(e)scape”) currently existing in Japan, where

citizens can scream, insult, rumble, vomit up their frustration in the middle

of a public space, exulting, exposing and exorcising their demons,

protesting… but in a voice transfixed in real time to appear to be nothing

but incomprehensible lamentation… a kind of Kafkaesque Bachelor

Machine….

…including (‘’Coitus interruptus’’), with a castration scenario as an

inverted mode of the Lacanian fragmentation mirror: …a man and an

object, a man-object, a knickknack on the mantelpiece… with all of his

parts scattered around him: flesh, feet, penis, libido dismembered… as an

inversion of the mirror stage, losing his unity, subversion of the masculine

subject, will trapped in the amnesia of desire… in a situation of re-

arrangement, re-assembling… beyond frustration… infinite possibilities of

castration… caressing his Eros-Tanatos… condition. Educated as a

predator by routine Western machismo… he is in a position to surrender,

abandoning his arrogance… shifting its representation… thanks to the

transaction with the ladyboy he abused a few years ago… to help him face

his affective and sexual despair, as a casual pathology… he initially came

to Bangkok to re-acquire a “legitimate” compensation for what he had

lost, or more precisely, what he never met, in his mishmash of pre-

pubescent romantic delusions… until … now… surrounded by his petrified

semen… to negotiate a subjective emasculation, escaping from a previous

vain agenda, from drive and suppression… to reach the un-raped grail…

questioning, as a white male, the contours of his identity....

The architectural outcome emerged as a net-like “glitch” structure. An

artifact or result of the slippage between three agents, human, robot and

materials. There is no linear top-down relationship of human as

designer/robot as servant extruding inert material. The qualities of the

glitch structure are folded into and from a narrative to become an actant,

the shelter prop in the production of the associated report (film)….

The inaccurate nature of the extrusion is further exaggerated as the

structure continues to grow, resulting in an inconsistent cage “wall” lattice

like an emergent effect. A catenary is also in effect at the larger scale of

the overall structure’s formal language, making it inhabitable for the

film’s protagonist, shattering and dismembering his body as

representative of his consciously partitioned psyche.

The last scenario on 2018 (‘‘mind(e)scape’’) was learned from this

preliminary research by including the catatonic feedback of human

acoustics to corrupt the trajectory of the machine. As in many scenarios in

Bangkok, the fabrication of the “prop” is developed from non-linear

robotic processes, AI task algorithms to accept and act on the

misapprehension with a real sensor interface (RSI), using signals and

inputs, analogue and digital. In this process, inputs are collected through

UPD signals and the chain of Processing, Firefly, Grasshopper and

Rhinoceros, and re-injected (every 2m/s) into the functioning of the

machine, creating a permanent conditional position between “the point

where the machine was” and “the point where the machine should be” as

a vector of translation in an iterative de-positioning... AI in an imperfect

stuttering between the antagonistic mis-correspondence of several signals

and inputs… It introduces local and stochastic perturbations in real time as

the trajectory of the nozzle makes visible the conflict of analogue-digital

inputs from robot's own noises, machine clicks, inverse kinematics,

pneumatic piston... sequences of loops between what is supposed to drive

the movement and the movement itself… a mise-en-abime of order-

disorder-order… Agents corrupt the programmed, predictable work and

modify in real-time the path of the fabrication, a stuttering feedback

coming from the intrinsic protocol of its making, augmenting the intricate

meanders of the tool in an ever permanent inaccuracy of positioning,

introducing non-linear processes... as a way of territorializing

technologies, but on the condition that they be defined through

nondeterministic and loophole logic-illogic... to “de-expertize” the design

process through its opposite… the discovery of the potential of a

masochistic adaptation, in a strategy of contingencies and correlations…

of co-dependencies... with the making as artifact… not design but

process… no modelization, no scripting if-then-while for bio-mimicry but

uncertain input-output, artifacts... failure, collateral effects, bugs,

anomalies... are welcome… to develop environmental-architectural

psycho-scapes … psyche and environment, body and mind, and “Manias”

(mythomaniaS) that refer, etymologically, to an insane drive of

perception-projection…

…from scanning the urban surface in Okayama City to produce a (‘‘sys-

mic’’) scenario, using ground-penetrating radar to reveal the residue of

the Allied bombing during the Second World War, mainly using napalm,

and extract an architecture with underground data bubbling up onto the

surface… a scenario against amnesia... with postdigital computer robotics

as a fold of time, past-present-future, a sharing process…

2019.08